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(★)(Posee un CD.)(◆Christopher Yohmei Blasdel (the middle name is the one he received from his teacher, the late Yamaguchi Goroo), came to Japan in 1972 and later completed graduate work in ethnomusicology and became a professional shakuhachi performer himself. He is now considered one of the finest performers on this instrument and those wishing to know why should hear his numerous recordings or read this book. Divided into two sections, there is a complete ´manual for learning´ which starts properly, with the bamboo stalk, goes through ´structure, handling and care,´ to a whole chapter on producing a tone. There are then sections on various registers, on fingering, on ornamentation and on deciphering the traditional cursive notation. Musical examples given in the text (and in the practice exercises) are in both the traditional notation and the standard Western notation, though the focus in this book is on learning to read the Japanese cursive tablature and the stave notation is added as reference. There is also a full history of the instrument, translated and adapted by Blasdel from the work of Kamisangoo Yuukoo, a recognized authority on Japanese Edo Period music. It is difficult to imagine a finer book on the instrument and particularly right is Blasdel´s constant awareness that playing shakuhachi is not merely a matter of dexterity and breath control. He continually stresses the spiritual connections of this instrument and its music, that ´the shakuhachi still remains a tool that provokes awareness and enlightenment, but in a way appropriate for the times.´[Donald Richie, The Japan Times : Asian Bookshelf] ◆The music and musical instruments which are bequeathed to us from earlier ages require a special approach, and recent years have seen more people become aware of the historical legacy of Western European classical instruments. Out of the extended sense of period propriety, the music speaks to us with contemporary immediacy. In this book, one can see the same principle extended to the music of another culture. The history of the shakuhachi is made practical for the present, and, through the detailed instruction guide, one who might not have a direct connection with Japan can appreciate the shakuhachi, one of Japan´s most beautiful instruments.[Christopher Hogwood, Director, Academy of Ancient Music] ◆The shakuhachi is rapidly becoming, to use Henry Cowell´s term, a universal flute. Unfortunately for most shakuhachi players who do not live in Japan or in a scattering of large cities elsewhere, shakuhachi teachers are by no means universal...yet. Until that does happen, books like ´The Shakuhachi --A Manual for Learning´ will be the only option for many would be shakuhachi players. This book however, is unique among the handful of books for the beginner shakuhachi player written in English. It maintains that rare balance between being simple and detailed enough for the absolute beginner and yet thorough and sophisticated enough for the advanced student. This new edition of the book includes a revamped, extremely useful, well thought out, and user-friendly collection of exercises and pieces in both traditional and staff notation, with the appropriate emphasis on the traditional. The book also includes sound recording of these exercises and pieces. Christopher´s book however, is more than just a ´teach-yourself beginners manual´. Its section on the history of the shakuhachi, including a new chapter appropriately titled ´Walking on its Own´, is one of the most comprehensive and up to date treatments of the subject in English.´The Shakuhachi --A Manual for Learning´ is an essential part of every shakuhachi player´s library, from absolute beginners to professional performers and teachers.[Dr. Riley Lee, Sydney Conservatorium of Music, Co-founder, Australian Shakuhachi Society]) |
BASE de DATOS, Biblioteca del Centro Cultural de la Embajada de Japon
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